The Ottoman Invasion That Greeks Love English Language Essay

The term soap opera normally refers to a type of telecasting show of uninterrupted, episodic signifier that is presented with dramatic fiction and normally has socio-sentimental content. Known shortly as ”soaps ” , they were originated in the United States and are so called because of their first major giver manufacturers which were assorted detersive companies. Another scenario of their name is that as soap operas were originally aired on the wireless as short mundane narratives of a consecutive format, their chief audience was homemakers who at the clip were likely occupied with cleansing. The “ operas ” on the other manus is the dry rubric that American journalists gave them, knocking these sorts of Television shows.

Soap operas have been doubtless a portion of Western civilization as good since the telecasting invasion in our families. The first daytime soap operas in Europe make their visual aspect in the United Kingdom during the early 1950s and around in-between 1960s become a British establishment. Traveling across the bulk of the European states, normally the economically independent 1s, they reach Greece. “ Greece was the last state in western Europe to present a national telecasting system ” in 1966 which did non to the full run until a twelvemonth subsequently. “ The reaching of telecasting besides coincided with the coming to power of the Colonels, whose junta lasted until 1974. ” ( O’Donnell, 1999 )

During the late eightiess and early 1990s the nature of the Television landscape in Greece wholly changed, with the reaching of the American daylight serial The Bold and the Beautiful. Continuously altering hosting channels, The Bold and the Beautiful was the first experience of the Grecian audience of the so called soap operas. It proved to be “ tremendously popular, with the streets of Grecian towns and metropoliss reportedly emptying when it was on air ” . ( O’Donnell, 1999 )

A twosome of old ages subsequently soap operas of Latin-american production started aerating at about every Grecian channel and managed to won a considerable large per centum of mundane positions evaluations. The audience was chiefly adolescent misss who at the clip the soap operas were on air, they had merely returned from school ( around 13.00-17.00 ) .

After about a decennary of the Latin-american soap operas ‘ rule in Grecian telecasting, a new tendency emerges with The Boundary lines of Love of 2004 ( originally titled Yabanci Damat ) , a Turkish soap opera showing the love narrative of a Turkish adult female and a Grecian adult male. Even before the first episode was aired, Television and printed advertizements raised multiple reactions, struggles and turbulences between Television referees and assorted Talk-shows participants. As The Borders of Love was proved really successful, in footings of evaluations, four old ages subsequently Turkish soap operas return dynamically to the Black Marias of the Grecian audience with Thousand and One Nights ( originally titled Binbir Gece ) . The positive response of the Grecian audience in 2008 was immediate and unexpected since it scored about double the positions of The Borders of Love of 2004. “ Even on the first twenty-four hours of the World Cup, Binbir Gece captured 30.5 per centum of viewing audiences, dominating the gap game between France and Uruguay – the first clip that a soap opera of all time beat the evaluations of a association football lucifer in Greece ” says an article posted in the Website of the New York Turkish Club.

The unfavorable judgment of class was once more intense and this clip uninterrupted, following each and every episode. The major points of treatment for the Television referees were the historical yesteryear of Greek and at Turkey and their present political and territorial struggles. Something non yet answered that is raising even more inquiries is the fact that although Turkish series are following the already tested and successful soap opera formula, they seem to garner more and more viewing audiences, get the better ofing about all other series of all time aired in the history of Grecian telecasting. The audience is continuously increasing and is found amongst every section of the Grecian population regardless of sex, age, societal or matrimonial position and/or other facets. What truly makes them so appealing to the Grecian audience?

Abstraction

The intent of the undermentioned research undertaking is to look into these very grounds of the amazing success of the Turkish soap operas to the Grecian audiences. Previous surveies made upon the issue of soap operas will be exhaustively examined in order to place the soap operas ‘ cardinal elements and analyze what differentiates them from Turkish productions. This research will chiefly concentrate upon the audience designation and the characteristics and features of soap operas. Furthermore, several research methods will be conducted in order to detect and analyse the features of Turkish soap operas that are so appealing to the Grecian audience.

Initially, I was interested in carry oning this survey as I have been a spectator of such productions myself for some clip, and I would wish to look into possible grounds that attracted me and 1000s of other Television viewing audiences. I have perceived for long, this Turkish tendency as a controversial issue, given the present political province between Greece and Turkey. I find the mass media and their audiences a instead hard field for observation since there are different wants, demands, values, ethical motives and prejudices in every person and the audience can non be seen as a whole. Despite the trouble though, I accepted the challenge to do an attempt to place the grounds of the Turkish soap opera entreaty and analyze what are those elements that Greeks find so attractive and interesting to a civilization that have for old ages loved to detest.

Literature Review

Books

Rethinking the Media Audience

By Pertti Alasuutari

Since my survey field will be Turkish soap opera audiences, I foremost thought of happening out what the term “ audience ” truly stands for in order to make up one’s mind where to concentrate. Chapter 9: To Be an Audience was proved an indispensable reading since it identifies some major statements on whether and when an person can or can non be called “ audience ” . Alasuutari says for illustration that a homemaker that has merely left the telecasting open in a peculiar channel when a peculiar plan is on air while she is occupied with some family work and does non truly pay attending to it, can non be considered as an audience member merely because she is lending to the evaluations of the plan or channel. While he supports that different types of audiences exist, such as immediate and mediated audiences, he identifies four ( 4 ) chief standards that an single must carry through in order to be called an audience member. The first is exposure that is an single or group of persons being exposed to a peculiar message of some mass medium. The 2nd standard which he identifies is attending, that stands for whether the person or the group wage attending to the message that are being exposed to and are able to decrypt its significances. Third standard is keeping or otherwise recollection, that constitutes of the ability of the group or single to retain the information and significance of the peculiar message and possibly shop it in memory for farther or future analysis. Alasuutari views incentive as the 4th and last standard, which is the defining of the person ‘s or group ‘s perceptual experiences and beliefs upon a peculiar affair, sometimes this significance that the person will prosecute in behaviour or actions that were driven by his/her exposure, attending and keeping of the message. I found the aforesaid information highly helpful, for they have helped me organize possible inquiries for both intensive interviews and/or questionnaires. I besides have myself a more clear apprehension of what it is like To Be an Audience and what it requires in order for person to be considered an audience member.

The Soap Opera Paradigm: Television Programming and Corporate Precedences

By James H. Wittebols

Having efficaciously defined audiences, the following measure I had to take was to specify the soap opera genre and place these traits that separate it from other types of Television shows. As I went through all chapters of the specific book, I saw that it was largely telecasting scheduling and marketing-oriented and I was ready to except it from my literature reappraisal since nil was related to my research. Luckily, I discovered a subchapter named “ Market-critical Elementss in Soap Operas ” that lists five ( 5 ) elements of “ soap opera storytelling that serve the demand of profitable accretion ” . Harmonizing to James Wittebols “ soap opera storytelling is regarded as the trade good signifier of telecasting and is its most profitable genre. Narratives in soap opera formats are organized in ways designed to develop and keep audience involvement. ” “ By and large a genre can be defined as a set of features shared by a group of telecasting plans that distinguishes them from other types of shows. Genre offers confidence about a show ‘s tempo, storytelling, consistence, and outlooks about the behaviour of characters to both advertizers and the audience. ”

Seriality, that is the nexus from one plan to the following, is soap operas ‘ most celebrated feature. “ Suspension of narratives until the following episode is a primary component in developing audience trueness. ” Real-time orientation besides plays an of import function as it reflects an mundane universe in which events watercourse every bit impeccably as possible to bring forth an air of pragmatism. This is planned to give the viewing audiences a sense of immediateness. As they replicate the larger civilization ‘s calendar, they offer a analogue to the spectator ‘s ain universe. Looking familiarity is identified as the 3rd characteristic and is defined as “ a sense of engagement or spectatorship for the audience without really being at that place. ” Viewing audiences grow to be the “ fly on a wall ” in the Earth of soaps, as soap storytelling gets the audience into the heads of the dramatis personae of characters shacking in a soap opera community. Story expounding is “ the mode in which narratives are presented to audiences ” that “ allows them to derive a sense of omniscience by hold oning the overall set of relationships in the narrative. ” “ Through multiple positions on a narrative, the audience comes to experience a greater bid of an issue or state of affairs that do the characters of the soap. ” The fifth and last component prevarications within three ( 3 ) bomber traits that are found in every soap opera narrative with no exclusions. “ Conflict and/or pandemonium, good and evil characters, and by and large showing a materially comfy upper-middle-class being ” aid sort the sorts of subjects established in soap operas.

Good Timess, Bad Times: Soap Operas and Society in Western Europe

By Hugh O’Donnell

Continuing with my research, I realized that analyzing the history of the soap operas within the civilization of Western Europe would be highly utile, as it proved to be. Interestingly plenty, at the terminal of the 1980s there were eight ( 8 ) telecasting soap operas and about all of them were found within the United Kingdom. By 1997 the figure of soap operas had increased to over 50s ( 50 ) aerating in 14 ( 14 ) different states and about all during early eventide or premier clip. The specific book provided me with a elaborate and summational analysis of all new soap operas of Western Europe that have appeared since the 1990s, based on uninterrupted and drawn-out screening. It outlines the recitative and secret plan construction of each consecutive and gives a elaborate treatment of the different sort of audiences that they address positioning them within the tele-visual civilization of each state. Additionally, each chapter constitutes of each state and its history with soap operas, including Greece. By making so, the writer provided me with alone informations that helped me understand the penchants of the Western Europe audiences sing Television series and the picks they have made so far largely in footings of secret plan and directing.

Furthermore, the last chapter of the book called Some Interim Conclusions consists of a really comprehensive sum-up of what the writer perceives as being the characteristics and features of soap operas which of class constitute the chief grounds of their entreaty and success. Listing some of them I was afterwards able to compare them with what I had found that has been written about the characteristics and features of the Turkish soap operas. For case, “ the entire absence of long-run unemployment ( despite really high degrees of unemployment in some of the states where these plans are shown ) ” , “ the about complete absence of the industrial working category ” , “ the systematically heavy over-representation of emotionally ‘available ‘ characters ” , “ the sustained turning away of virtually any mentions to political relations in the party-political sense ” , and of class “ the ever-increasing tendency towards glamour which can now be found about everyplace, and of which the visual aspect of beauty Queenss and male theoretical accounts among the dramatis personae of these series is merely the most dramatic indicant ” are some of the most common elements that are found between the most – if non all soap operas, that have been a immense success among Western European states.

Tune In, Log On: Soaps, Fandom and Online Community

By Nancy K. Baym

The first chapter of the book, named “ The Soap Opera and Its Audience ” provided me with the consequences of a survey made in the 1990s upon a celebrated web log called r.a.t.s. ( the initials of rec.arts.tv.soaps ) . The research worker was detecting and entering the sex, age and calling of the web log ‘s participants who were noticing upon and discoursing the soap operas that were aired at that clip. The research worker eventually came up with a good trade of diverseness. “ A speedy expression at the demographics of r.a.t.s, shows that its participants disproportionately represent the high terminal of the American socioeconomic spectrum but that there is a broad assortment of callings represented. ” The web log participants varied among computing machine professionals like package coders, in writing interior decorators, advisers, examiners, directors, trainers every bit good as other fortes. “ Students from both undergraduate and alumnus, organize the following largest contingent. Noncomputing professionals include scientists ( working for both private and governmental research labs ) , librarians, secretaries, nurses, high school instructors, and public dealingss and selling professionals. ” “ Although participants describe the group as being ‘worldwide ‘ , the overpowering bulk of participants ” , live in United States. “ About a 3rd of them live in California, which is non surprising given the presence of so many computer-oriented concerns online in that province. The others span 21 provinces, and 1 lives in Canada. Peoples have posted from Belgium, Germany, England, and New Zealand, but those who do non populate in North America, peculiarly in the United States, are in a minuscular minority. ” “ As one would anticipate, r.a.t.s participants are chiefly adult females. Judging from the names in the headings of one month ‘s worth of r.a.t.s stations, of the 492 people who contributed, 60 % had female names, 20 % had male names, and another 20 % had references that left their gender equivocal. If one assumes a proportionate split among the equivocal population, so r.a.t.s is about 72 % female and 28 % male ” .

Despite of the demographics, another research worker conducted research upon the same web log in order to place the psychographics of the participants and detect what the audience outlooks and demands are from a series. He eventually concluded that “ for a consecutive to be successful, it must state a compelling narrative concerned with interesting and credible characters. Fictional characters with whom the audience can personally place or emotionally sympathize. The ingredients are the same as those required for any good dramatic menu but one basic difference: that the go oning signifier allows a Fuller development of word picture while allowing the audience to go more and more involved with the narrative and its people. ” The writer besides quotes what Jean Rouverol, a soap author said: “ Whatever else a show may offer, it must incorporate people we love, people whose joys and trials we can portion. It must besides supply us with people we love to detest, people who offer a uninterrupted menace to the public assistance or felicity of those we are affectionate of. And although the demand of success is ever a given, there can be no existent suspense if we do n’t care about the people we ‘re watching. Above all we need to care. ”

By Christine Scodari

Having read the above quotation mark of Jean Rouverol I wanted to analyze more about the characters of soap opera content. Traveling through this book, I reached a subdivision which does explore the archetypical moral fibres, twosomes, and narratives that inhabit soap opera ‘s favourite existence, the gendered subject in the soap opera manuscript, and the genre ‘s use of age and clip. This chapter examines the expression of typical plot lines like the ace twosome and passionate trigon and all right but significant differences amongst soaps in this respect. The stars in soap opera ‘s prevalent familial and romantic configurations are logged so that ideological deductions of gender and lifespan representations, and the economic jussive moods that motivate them, can be better appreciated. The book recognizes the “ mechanisms by which immature grownups typically debut as characters on soaps ” . “ These appealing immature ‘hunks ‘ and ‘babes ‘ , as they are referred to by fans and Godheads likewise, are carefully selected and molded to be magnets for the sought-after audience-young females. The interpellative pull of characters and text is crafted so that immature female viewing audiences identify with the marriageable immature adult female in desiring and, particularly, in being desired by the virile immature male. ” As it turns out, in the rite of the love affair novel, these vigorous ingenues are frequently predestined to “ chasten bad male child hunks ” who are, despite their irony and unsmooth borders, bighearted. One fan described the paradigm as “ the cat in the leather jacket and bike who storms in on a cloud of grit and testosterone that obscures his bosom of gold. ”

Of class apart from the representation of immature people within soap operas, other originals exist that seem to pull other audience sections except teens and immature grownups. In soap footings they are describe as ‘divas ‘ , ‘harridans ‘ , ‘vixens ‘ , ‘cougars ‘ etc.

Except of the ace twosome within which ‘babes ‘ and ‘hunks ‘ are found and immature grownups place with, other forms exist that seem to fulfill the audience ‘s perceptual experience of the ideal universe. The older woman-younger adult male relationship frequently found in soap plot lines provides adult females in the climacteric phase with the soothing thought that they are still desirable. Reversely the older man-younger adult female form gives older work forces who bit by bit see their virility worsening the powerful image of them with a younger and attractive female who ideally got attracted by their experience and wisdom.

Soap Fans: Prosecuting Pleasure and Making Meaning in Everyday Life

By C. Lee Harrington & A ; Denise D. Bielby

The peculiar book investigates the “ Femaleness ” of soap operas and the really grounds that “ soap operas have long been considered portion of ‘women ‘s fiction ‘ , which includes love affair novels and melodramatic movies ” . The writer identifies certain rules of daytime Television that can be distinguished as female and peculiarly resonate with the experiences of female audience. The first is the focal point on webs of relationships that is reaction and interaction to the happening events, instead than the events themselves. “ In soap operas, the of import thing is that there ever be clip for a individual to see a comment ‘s branchings, clip for people to talk and to listen extravagantly. The writer identifies this as a feminine component based on research on adult females ‘s psychological and moral development that states that “ by maturity, adult females are more likely than work forces to specify themselves in footings of fond regards and connexions to others. Womans tend to comprehend themselves ” improbable work forces “ as embedded in a web of relationships. ” For adult females familiarity goes along with individuality and they get to cognize themselves as there are known through their interaction and relationships with others and daytime seriess “ celebrate relationships and associations, the ‘realistic ‘ footings of many adult females ‘s lives. ” The accent on verbal interaction in soap operas is the 2nd convention the writer identifies. “ The action or events on seriess ‘are non of import in themselves ; they simply serve as occasions for characters to acquire together and hold prolonged, involved, intensely emotional treatments with each other ‘ ” . Of class such minutes have a inclination to appeal preponderantly to female audience since adult females, improbable work forces, tend to emphasize verbal self-disclosure in their ain interpersonal traffics. “ Another gendered facet of soaps is the penchant for close-up camera shootings. ” This peculiar technique initiates the spectator to give attending, to truly be troubled approximately, the well-being of the characters. “ Womans are presumed to be natural health professionals with an intuitive ability to read people emotionally. Extended close-ups affirm these premises by leting viewing audiences non merely to see emotions along with characters but besides to conceive of and theorize on the beginning of those emotions. ” The “ atomization of storytelling ” has been clearly associated to adult females ‘s family work and besides contributes to the classification of soap operas as female narrations. “ A spectator who is at the same time working and watching telecasting does non necessitate to worry about losing information if he/she is distracted by kids, a timer, or a phone call because the information is certain to be repeated. ” ‘The formal construction of the soap opera is therefore closely linked to the beat of adult females ‘s domestic labour. ” The fifth gendered component of soaps operas is the limelight on the personal or “ interior universe ” instead than the communal or exterior one. “ While most daytime characters, both male and female, have glamourous and respected callings ” , “ they are seldom seen really working. ” “ Rather, the work scene is transformed into a private sphere in which to face and research private issues. ” In malice of adult females ‘s turning engagement in the paid work force since the 1960s, they are still held apt for the private domain, therefore the focal point on the household sphere in daytime series and the transmutation of unfastened sceneries into private 1s efficaciously corresponds to adult females ‘s lived past cognition and resonates strongly with the feminine audience.

Academic Diaries

Wooing the Globe: A Glimpse of the World ‘s Best Selling Telenovelas

By Ibsen Martinez

This article examines how Latin American soap operas have accomplished about international celebrity. It is implied that the telecasting series have grown to be popular in states like Poland, Russia and Indonesia through the execution of plotlines that maintain the hapless, unfortunate and underprivileged attached to their sets. The editorialist analyses how 2 billion viewing audiences worldwide track the soap operas, widely branded as telenovelas. Harmonizing to Martinez, soap opera secret plans that rely on the luck reversals reverberate in societies accustomed to pecuniary insecurity.

After holding examined the relation between soap opera signifier and content with the audience ‘s demands and outlooks I thought of contracting down my research to the Grecian audience in peculiar in order to place similarities or differences comparing to what I had found out so far. Since Latin-american soap operas seem to keep the 2nd place in the Grecian audience ‘s favourite shows ( in footings of evaluations ) -with the first place being held by the Turkish soap operas, I assumed that look intoing the content of such series would assist me understand more about what Greeks want and what attracts them in a Television show. Telenovelas appear to portion cardinal elements with their other cousins. Love affair and scheming are, of class, ever present. “ ‘There is ever a Cinderella in a novela, ‘ says Helena Bernardi, manager of selling and gross revenues for Brazil ‘s Globo Television. Colombian telenovela Godhead Patricio Wills describes the genre as “ a twosome that wants to hold a buss and a author who does n’t let them to for 200 episodes. ” The physical appeal of telenovela dramatis personae and the balmy scenes where the cinematography takes topographic point have an astonishing consequence on the audiences ‘ aesthetic pleasance. Melodrama though seem to be the most “ habit-forming ” feature of Latin-american soap operas since irrespective the battles, struggles and apparently unresolved jobs towards the ace twosome ‘s felicity, the audience is already reassured that the two “ out lovers ” deserve to be together and finally will be no affair what.

Newspaper Articles

How the Greeks “ Fell ” Into Turkish Series

By Nikos G. Xydakis, editorialist at Kathimerini

In an attempt to explicate the recent Turkish-mania that has overwhelmed the bulk of Greeks, Mr. Xydakis provided me with a instead rough-edged justification through his subjective readings of the Turkish soap opera viewing audiences. It was however deserving analyzing it, in the research towards the existent causes. He says that the working categories, those “ fed ” with Television plans in their seek for amusement ; acknowledge in the “ coarse ” typologies of the Turkish series something from their old societal ego and the old certainties. Harmonizing to him, Turkish TV series, with the signifier of the popular love affair and the old tried formula of soap operas schematically portray a universe both existent and fanciful, distant and close, east-Asian and western-European, a instead limbic universe. The Grecian public sees themselves merely at this turning point, within the transition. Sing this officially, it is about arrested development and the Grecian populace is so stepping back identically with the autocratic and male-dominated Turkish society where domestic and household pride and award are contending against beastly power and ferocious emotions. He supports that the progresss Greek populace, situated socially, historically and culturally at a higher degree, is fascinated by the Turks ‘ “ retarded descriptive anthropology ” .

Turkish series characters are presented unsmooth, with clear contours, dramatically good or bad, work forces are work forces and adult females are adult females. The male wear dark suits and white shirts. Most aged adult females portents wear headscarves or kerchiefs and the younger are presented as Western-style beauties, playing the function of a partner, lover, female parent, girl or sister in a male-dominated universe. The household is the strongest societal ( and dramatic ) component while the province stands in the background, rigorous and covertly autocratic. People clang between urges and morality, between kin and province and between feudal system and modernness. Both work forces and adult females are dressed cautiously, purely with conformance ; nevertheless the European form with BMW and Mercedes autos and highly affluent and epicurean houses is the current version of the Turk-baroque manner.

Mr. Xydakis sees the major ground for the popularity of Turkish series as lying in the psychosocial folding of the on the job categories before the unsuccessful modernisation. The unsmooth, solid constructions of Turkish households, strong-willed work forces overflow with maleness, the feminine and attractive adult females who are married womans and female parents and they do n’t look as “ slutty ” or dominatrix, the protected and certain money of the closed household, the well-established codifications of award, all these urban things and ethical motives that seem confidant and familiar in forepart of an audience ‘s thirsty eyes ; an audience that has lost its old weights and steps. The Green public thirstily observes an old universe, “ eastern ” slow and rough, the universe it let travel.

Web sites

www.anixneuseis.gr

Why did Turkish Series Win the Greeks Over?

By Administrator

Beginning: Reuters

The writer of this article provided me with people ‘s sentiments on the latest Turkish tendency, utilizing assorted beginnings. He examined both celebrated Greek web logs and the most popular societal media in Greece and recorder the replies and treatment of participants about Turkish series. It all started with the enterprise of the Grecian channels to purchase Turkish productions that in the terminal turned up to be economic “ bundles ” that to some extend offer a alleviation to the crisis that has hit Grecian telecasting. A celebrated Grecian blogger stated that “ bird’s-eye shootings of Istanbul vicinities, which one time housed big Grecian communities, awakened a nostalgic sense to the Greeks who referred to it as the “ City. ”

“ I recall a different epoch, Greece ’60s, when worlds were dominated by life and non philistinism, ” said a 65-years-old woman.A ” I watch them so I do n’t acquire defeated. ” she added. “ I realized that the hate is predetermined, ” says a 21-year old jurisprudence student.A ” We do n’t see the evil enemy, but the existent Turk who falls in love, gets hurt, as we do, ” she adds. “ I have been surprised, ” said Ashley Tountz, media professor at Bilgi University in Istanbul.A ” The Greeks need a new sort of amusement to bury their jobs and these seriess seem to react to their demands for the minute, ” said the professor. “ The series “ Ezel ” and other seriess describe a lost portion of Grecian society that was buried in recent old ages, ” author Nikos Chiladakis he says in his article to the success of this constabulary play. “ I woke up today in a lost Grecian individuality, ” he added.

In a manner, the seriess are “ exporting ” the Turkish civilization, even “ in an unsure market, such as Greece ” , said Pinto of Global Agency.A ” The Greeks feel closer with Turkey now than earlier, ” he said to Reuters.

There are of class other people whose sentiments differ a batch from the fans of Turkish seriess and they seem to be the Godheads of many societal media and web log pages. They oppose to the Turkish production ‘s importing in Greece back uping that Greek channels ‘ proprietors seem to hold forgotten what Greece went through during the Ottoman invasion. “ Some things can non be forgotten, can non be deleted from the Grecian history, ” is merely a sample written in one of the pages.

Methodology

Questionnaire

Initially, the first research method that seemed suited for my subject was questionnaires, so I thought of suggesting it as one of the two conjectural methods. Turkish soap operas have gained the attending and regard of a important per centum of the Greek Television audience and the figure of viewing audiences is continuously increasing as new productions are purchased and presented by the Grecian channels. If carefully planned and prepared a questionnaire would be a good manner to analyze the very grounds of this success. By capturing the participants ‘ attitude towards the Turkish series and seeking to place what each one of them finds attractive and deserving observation in this type of productions I think I could come up with multiple subjective accounts and readings that would assist me acquire closer to the replies I seek.

The methodological analysis under which a study research is structured and conducted has several advantages every bit good as disadvantages. The cost of carry oning a study is well low and the procedure is effortless if we compare it with other research methods and in relation to the noteworthy amount of information we can garner. Additionally, study research does non necessitate any geographical restraints or peculiarly scarce equipment except of paper, pens and the existent participants. Furthermore, the sum of preexisting, gettable information facilitates the development and the conductivity of the questionnaire.

Opposing the advantages of the study methodological analysis, a questionnaire might hold certain restrictions. First of all the control over the independent variable is really hard and sometimes even non executable. Second, the research worker may non utilize the proper formation in developing the questionnaire, the content of the inquiries may non be the right one, or even the preparation of the inquiries is bewilderingly done.

Closing the questionnaire treatment, I would wish to add as a disadvantage, the possibility of the respondents supplying the research worker with bogus informations or untruth replies. This is a major failing of the study method since it would surely determine negatively the research ‘s findings.

This is the questionnaire that I would give to the participants of my research upon the Turkish soap operas appeal to the Grecian audience. The intent of the questionnaire as the first research method was instead to place the heavy viewing audiences of Turkish soap operas. It is largely to analyze whether the participants would be proven valuable for the other two approaching methods and at what per centum they represent the Grecian audience.

Questionnaire

Please take the reply that corresponds to your point of views. If it applies, you can take more than one options.

Please bespeak your sex.

Male

Female

Please bespeak the age group that you belong.

18-25

26-35

36-45

45+

Are you presently watching any Turkish series?

Yes

No

If yes, which one is it?

Love and Punishment

Temptation

Other

Make you watch it every twenty-four hours or on occasion?

Daily

Occasionally

Make you happen the clip the series is aired convenient for you or you sometimes inescapably lose it?

Convenient

I miss it sometimes

I postpone or cancel things to watch it

What do you like the most of these series?

Plot

Fictional characters

Actors/Actresses

Direction

Music

Locations/ Topographic points

Manner ( apparels, places, accoutrements, jewellery etc. )

General facets of the life in Turkey

Are you cognizant of WebTV service that is available on some channels ‘ web sites?

Yes

No

If yes, have you made any usage of it?

Yes

No

If yes, do you utilize it to track episodes you missed or to watch some old Turkish series that has been completed?

Missed episodes

Old series

Both

If you are watching an old series, can you delight compose down the title/s?

Do you purchase magazines that provide the approaching episodes ‘ secret plans, treatments and analyses of the seriess or actors/actresses ‘ interviews?

Yes

No

Sometimes

Make you entree on-line web logs for the same grounds?

Yes

No

Sometimes

Make you normally watch the episodes entirely or with company?

Entirely

With household

Friends

Peers

Romantic spouse

Spouse

Colleagues

Make you discourse the secret plan, characters or any other facet of the Turkish series with others?

Yes

No

Sometimes

With whom do you normally discourse it?

Family

Friends

Peers

Romantic spouse

Spouse

Colleagues

What do you normally talk about?

Plot

Fictional characters

Actors/Actresses

Direction

Music

Locations/ Topographic points

Manner ( apparels, places, accoutrements, jewellery etc. )

General facets of the life in Turkey

Do you believe that the life in Turkey is the same as portrayed in the series?

Yes

No

If no, can you briefly lucubrate which do you believe that these differences are?

Do you believe that Grecian civilization has any similarities with the Turkish civilization based on what you see in the series?

Yes

No

If yes, can you briefly lucubrate what these similarities are?

Would you state that you are looking frontward for more Turkish productions?

Yes

No

Impersonal

Thank you for your clip and part to our survey!

Focus Groups

The 2nd research method that I decided to prove hypothetically was focus groups.

There are legion advantages and disadvantages refering this method of information assemblage that are listed and explained at the undermentioned treatment. The digest of opening informations is normally utile and supportive when it comes to look intoing this method. In my instance though, it may non be considered sufficient as I will hold to travel deeper into participants ‘ ideas and attitudes and to further analyse their ethical motives, demands, outlooks and readings in order to come up with apparent consequences to the enquiry of the Turkish soap opera entreaty to the Grecian audience. Furthermore, in order to acquire into the participants ‘ feelings and motives requires more personal contact and familiarity, which is improbable to be achieved among the research worker and the legion participants. However, inquiry planning appears to be more elastic which gives the conversation a great advantage as the treatment flows spontaneously, straight forwarded and unpretending. In add-on, in instance of a misunderstanding happening during the procedure, accommodations can be easy done. Likewise, if either the moderator or any of the participants misunderstands something, it can be easy explained and corrected which decreases a batch the possibility of a wrangle. As I mentioned earlier the treatment flows in a direct manner which ideally means that the results of such an interaction may be a batch more inclusive and fulfilling since the self-generated inquiries and replies work as a stimulation for the encephalon to work better and revive old and disregarded thoughts or even come up with new 1s.

The presence of the research worker within the room or topographic point that the procedure takes topographic point may hold a bad influence on the participants ‘ reactions and even switch their responds in some manner. It would be difficult for the respondents non to see the moderator ‘s judgement and appraisals fundamental. Focus groups by and large represent a qualitative method of garnering information. In this peculiar instance, which is look intoing the entreaty of Turkish soap operas to the Grecian viewing audiences, quantification is important for the research ‘s intents. A common focal point group method though, consists of 4-6 focal point groups with a limited figure of participants in each one of them, hence such a sample would be uneffective in stand foring 1000s of points of position, in this instance about half the Grecian population.

Last but non least is the research worker ‘s attack and behaviour towards the participants of the focal point group. More specifically if the research worker was non wholly nonsubjective or polite adequate and could non keep his personal judgements or feedback out of the room, the respondents would surely be affected by his manners and the research would non eventually reason with the desirable results.

The process

If I truly were about to fly focal point groups for my research upon the Turkish soap opera entreaty on the Grecian audience I would hold to follow several methodological stairss of fixing and carry oning focal point groups. 1 ) I would hold to specify the exact subject of my extroverted research, 2 ) I would hold to take the most fitting samples based on my subject, 3 ) I would find the figure of the groups necessary, 4 ) I would fix the needed mechanics ( a room to carry on the research, a picture wall and other necessary equipment ) , 5 ) I would set up the indispensable stuffs for the research, like the picture to be shown, a recording machine, and the inquiry that I want answered. 6 ) I would really carry on the research when the existent procedure takes topographic point, and eventually 7 ) I would hold to travel through, interpret and record the findings, and afterwards carry out a summing up study.

Material

The stuff that I would show to the focal point groups would be a picture incorporating representative infusions from each of assorted Turkish series that have been played in Greece. For illustration “ Ezel ” was a Turkish soap opera aired in Greece during 2011, which was really different from any other Turkish series since it contained expressed force, guns and drugs usage and sexual deductions. I would take to demo a instead usual action scene after a brief account or those that were incognizant of this consecutive. I would decidedly demo each of the series TV commercial topographic point in order to enter what each of them found interesting and attractive. From other series I would besides take to demo representative parts after explicating the secret plan of each soap opera. I would choose scenes that are common between Turkish series and likely the 1s that have been rated as the best in celebrated web logs and Youtube pictures. For illustration, a declaration scene when the two supporters eventually acquire together after struggles and dissensions, a scene that portrays epicurean life style with affluent sign of the zodiacs and expensive autos, a scene with the usual female characters and their vesture picks and eventually a traditional scene where all characters are sitting and eating together that portrays their high grasp of household bonding, and of class good culinary art. In add-on I would play some parts where we can hear words and looks widely use in Greece and another picture sample where a treatment about ethical motives and values takes topographic point.

The Groups

Initially I thought of categorising the participants harmonizing their gender in order to understand what aspects portrayed in Turkish soap operas attract both of them and where they differentiate. Alternatively, I thought of grouping them harmonizing to their age, for illustration holding 3 focal point groups, 18-30 year old, 30-40, and 40+ . Another thought was sorting them based on their exposure to Turkish productions and so spliting them into 2 focal point groups, heavy viewing audiences and light viewing audiences.

At the beginning I would get down a conversation inquiring them mistily about the subject, so to do them experience more comfy and in order to hold a treatment that would flux of course with self-generated reactions.

The Questions

Some inquiries that I would inquire in order to do the conversation flow are presented here:

Which of these soap operas have you seen?

Why these? What is that draw your attending? What made them seem interesting when you saw the commercial?

Most of them are about love narratives. Do you see them plausible or overstating?

Make you happen similarities or differences with Grecian soap opera productions?

Sing that Turkey is historically your enemy, does the linguistic communication, the civilization and the diverseness of ethical motives bother you or “ machination ” you?

Does the position of Turkish soap operas prompt you to confront the Turk as a by and large benevolent neighbour? Have such productions shaped in any manner your perceptual experience about Turks?

Based in what you see, could you live in a society as those portrayed?

Make you acknowledge any elements of the Turkish society within the Greek community that have been likely passed to us through the 4 centuries of the Turkish business?

Pilot Study

Intensive Interviews

The instance of the Turkish series entreaty to the Grecian audience is an issue that has received a batch of attending since 8 old ages ago when the first Turkish soap opera was aired in a Grecian channel. By many it is considered as holding many dimensions, some of them being societal, political or even educational. In order to research the very grounds of the enormous success of Turkish soap operas, I decided to utilize Intensive Interviews as the most suited method for my pilot survey. Of class the method ‘s advantages and disadvantages are to be taken into consideration in order for it to be every bit effectual as possible. First of all I was already cognizant that no affair who I contact or how many people I ask to reply my inquiries, they would ne’er be adequate or equal to stand for all the viewing audiences of Turkish soap operas. Therefore I was convinced that I needed a qualitative method so as to acquire the more sufficient consequences possible out of my survey. Besides, intensive interviews include a assortment of advantages in comparing to other research methods. Chiefly, intensive interviews are besides called in deepness interviews and since I was approximately to analyze an issue that has been proven to be controversial and multidimensional I knew that I had to intensify in the participants ‘ personal point of views, experiences, values, motives and feelings about the issue in inquiry. The personal contact and familiarity that most of the times are developed between the interviewer and the interviewee create alone fortunes for the participant to open up. Ideally this would take to a great trade of information obtained refering my subject. Furthermore, another advantage of this personal contact is that despite all the recorded responses of the participants, there are the gestural 1s that may extremely lend to the overall result. Body linguistic communication, voice key, gestures and faces would supply the interviewer with a great trade of information refering emotions. I.e. how the interviewee felt when asked a peculiar inquiry. Furthermore, intensive interviews are normally customized to the single respondents. While the research worker has planned to inquire the same inquiries to each one of the participants, the flow of the conversation allows the interviewer to accommodate and organize the inquiries harmonizing to each participant.

However, as a research worker I must take into consideration several drawbacks that the method of intensive interviews contain in order to bear in head what it needs to be avoided while traveling through the existent procedure. Generalizability is one of them and it has to make with the fact that sometimes the sampling is normally non random which may take to a different version of a inquiry asked. The interviewee may even reply to a inquiry ne’er asked to the remainder of the respondents. Nevertheless the issue of soap opera popularity is expected to hold different points of position and assorted individualized sentiments. Second, interviewer prejudices are another restraint to this method. As mentioned earlier, the personal contact that develops between the interviewer and the interviewee may stop up in a duologue. In that instance except of the respondent sharing sentiments and point of views, the interviewer may stop up making the same. If what the interviewer says goes against the values, attitudes or beliefs of the interviewee or if the interviewer in any manner offends him, certainly the result of the existent interview will non be the desirable one since it may impact the replies of the respondent. Sing this hazard, the research worker must be excess careful non to be subjective and non to portion excessively much information in order to command the flow of treatment and extinguish the possibility. Shutting, another restriction that may happen is the participant acquiring tired or bored. The whole procedure may be excessively long and pall the participants who during the last proceedingss may merely giving replies without believing excessively much merely to acquire over with it. Surely in this, the information would be altered from the 1s that the research worker would hold taken otherwise. Thus it is indispensable for the research worker to maintain the procedure every bit abruptly as possible so to avoid a tired participant who is non truly giving the conversation the proper attending.

In flying the intensive interviews method I will seek to take advantage of all of its utilizations and in add-on to change by reversal the restraints and if possible turn them into good strengths so to come up with the most effectual and utile consequences for my research.

The Actual Interview

After agitating custodies with each participant and courteously welcoming them in order to do them experience comfy, the inquiries I prepared for the intensive interviews go as such:

Since you are familiar with Turkish soap operas can you state me which of them have you watched?

In the terminal, did you like all of them the same or do you hold a preferable series that you truly bask?

What is it that you liked so much?

Could you state that you have in any manner identified with any of the characters of Turkish soap operas?

You remember that about a decennary back, Latin-american soap operas were all over the Grecian channels. It was the clip ‘s tendency. Did you watch any of them?

Make you happen any differences or similarities with Turkish series?

Would you state that you see any similarities of the Turkish civilization with Greece?

Some say that they ca n’t watch Turkish series because of the linguistic communication ; they even find it barbarian and unsmooth for the ears. What do you believe?

What about the histrions or actresses? Most of them are Turkish theoretical accounts. In general would you say that they are good in their functions? Can they show the feelings of the characters?

Make you cognize others who watch Turkish Television series? Do you discourse the episodes with them?

Overall, would you state that Turkish series follow the formula of authoritative soap operas or non? Plotwise I mean.

Finale

Findingss Analysis

Harmonizing to the findings of the intensive interviews the reply that I was so thirstily looking for has eventually come to the visible radiation. My research ‘s subject was the grounds of the Turkish soap operas appeal to the Grecian audiences. After carefully traveling through each participant ‘s responses, I have concluded to the following. It seems that the chief ground of the Turkish series success among Grecian viewing audiences lies to the similarities of the two civilizations. The Turkish business lasted about 4 centuries and the Grecian civilization has inescapably been influenced by Turkish wonts and life style. Some words and looks we use in mundane life, culinary art and household values are doubtless staying of the cohabitation of the two civilizations within the same district. Furthermore, population exchange had decidedly caused many dwellers of Asia Minor to abandon their houses and come to populate in Greece. I believe that many of those people watch Turkish series merely for a opportunity to see these locations and topographic points once more or merely because they are so familiar and convey back many pleasant memories.

Furthermore, all of the participants seem to be fascinated by the secret plan of these series, acknowledging that they are different from all series they have seen before. They believe that although Turkish soap operas follow the old and tested soap opera formula they have taken a measure farther into integrating alone and unprecedented elements in their productions about organizing a new genre. Despite of the fact the most of the dramatis personae of such production comes from patterning bureaus across Turkey, their public presentation and moving accomplishments seem to be satisfactory for the viewing audiences. The beautiful dramatis personae along with the carefully chosen sceneries shapes an aesthetically enjoyable and amusive result that pleases the audience. Likewise, the respondents seem to pay attending to and appreciate the extraordinary work that is being done behind the cameras. They have expressed their esteem for the way and musical concomitant of Turkish series that contribute to the gratifying consequence.

Furthermore, when the participants were asked about Latin-american soap operas, I so foremost started to separate the chief differences and began to recognize the audience ‘s grasp. They found the Latin-american productions instead infantile and juvenile stating that the nicknaming merely made them sound silly. In Turkish soap operas we listen to the voices of the dramatis personae with the aid of Grecian captions, alternatively of seting Grecian people to speak alternatively. In the beginning, the linguistic communication may look unsmooth and eldritch, particularly because we are used to European hearings, but in the terminal it appears that merely this manner we are able to capture each minute ‘s emotion and to appreciate the character ‘s sentiment and psychological province.

Shutting, what extremely contributes to the overall success is that every Turkish production follows a different plot line, avoiding the rich guy-poor miss cliches and this manner appealing to different sections of the Grecian population. Although Greeks look like appreciating loves and hates, passions, fascinating dirts and struggles, they have extremely valued the fact that in either of the Turkish soap operas a bad cat exists. As Nefeli unusually said “ in Turkish series good and evil prevarications within the characters themselves and it is shaped harmonizing to their quandary, passions, relationships and interactions ” .

Finally the absence of happy stoping in all of the Turkish series with one or two exclusions, significantly add to the overall esthesis. Surely in the instances presented in the series, with such struggles and divergencies, there can be no happily-ever-after, precisely like it happens in existent life.

Decision

The entreaty of Turkish soap operas in the Grecian audiences comprised a superb enterprise for my first contact with existent research. Throughout my survey I tried to unify both old researches done upon the general soap opera genre and the findings of my study in order to analyze what differentiates them from Turkish productions and makes them so appealing to Greek viewing audiences. Although tiring, the research procedure was proved disputing but in the same clip exciting and motivation, and the findings really interesting. At the beginning of my survey I was convinced that I had chosen the right subject for me since I have been really much concerned about media audiences and distinctively Television viewing audiences. The fact that I have been a Turkish soap opera spectator myself was besides the major factor that contributed to my determination to continue with the specific subject.

In add-on I consider the overall experience extremely educational since I learned how to fix both a reappraisal of bing literature upon a topic and the manner to carry on existent research utilizing assorted different methods. I consider the experience worth holding as I realized the responsibilities of a professional research worker. I am glad and thankful that I had the chance to experiment with this procedure from such an early phase since it may turn out to be highly valuable in a possible professional calling.

Appendixs

Interviewees

Nefeli, 26, practician in a jurisprudence house

Konstantinos, 42, in writing interior decorator

Maria, 59, pensionary

Vana, 22, communications pupil

The Actual Interview

Since you are familiar with Turkish soap operas can you state me which of them have you watched?

Nefeli: I started watching Thousand and One Nights in 2009, so Kismet, Gumus and Ezel. Now I ‘m watching Temptation.

Konstantinos: My married woman was watching them, and when I had nil better to make I was watching excessively, boulder clay I started to wish them. I have watched Thousand and One Nights, Kismet, Gumus, Love and Punishment, Temptation and of class Ezel.

Mares: All of them really, and when there were clip struggles I used WebTV.

Vana: I watched a small from Thousand and One Nights, Kismet and Temptation.

Did you like all of them the same or do you hold a preferable series that you truly bask?

Nefeli: To be honest I liked all of them, but Kismet truly blew me off. It ‘s the lone clip I cried for a series.

Konstantinos: I enjoyed Ezel a batch! And Love and Punishment is all right.

Mares: I liked all of them but I liked Temptation more.

Vana: Thousand and One Nights decidedly. And so Kismet.

What is it that you liked so much?

Nefeli: I think that it ‘s the music that creates this dramatic ambiance, and the voice of the vocalist makes you think that he is truly in hurting. He is the same who writes the music for Temptation, and once more he creates this dramatic consequence. Apart from that, Kismet followed the traditional soap opera formula but in a more intense manner. It was an astonishing love narrative. I felt sorry for the miss, I felt sorry for them that they could n’t be together and it was like the manager was tormenting me across 80 episodes!

Konstantinos: I like escapades and these two were the 1s that had gun usage and small force, running from the jurisprudence etc. Apart from that, Ezel ‘s narrative was truly astonishing and nowhere near authoritative soap opera. His changed his face with fictile surgery and returned to take retaliation from those who got him into prison. It was superb! Plus, I enjoy watching Constantinople and the beautiful topographic points at that place. I am interested in history and the fact that Greeks lived there one time moves me.

Mares: It ‘s the dirt I think. She is married to an older adult male and when she goes to populate with him his nephew visits and they fall in love instantly. And they live under the same roof, it is really intense. Every minute you think that everyone is traveling to happen out about them. Secret expressions and meetings at dark. It reminded me of my young person, my male parent was rigorous and I was n’t allowed to make much.

Vana: Love narratives. In our clip, work forces are non like this. They want many misss, they like partying, they are non gentlemen any longer and most of them can non be trusted. I like watching work forces in the series, they are like they come from a different epoch.

Could you state that you have in any manner identified with any of the characters of Turkish soap operas?

Nefeli: Decidedly I ‘d state Kismet. I have been in the miss ‘s place, look up toing a adult male so much but he was unapproachable. He wanted her excessively but he was older, wealthier, famousaˆ¦ Her feelings were so similar mine and the fact that there could be no declaration to the narrative was realistic. There was no happy terminal in the narrative precisely like there can be no happy terminal in existent life. Not ever at least.

Konstantinos: Come on this is adult females ‘s inquiry. Okay possibly I identified with Ezel, but merely a small spot. I agreed with him in his values and ethical motives and I wish I had his strength and power of will. Make n’t state anyone though!

Mares: Yes, I ‘d state Bihter from Temptation. Because she could n’t bask her love because everything was against them. Like me and my hubby before we get married. My male parent did n’t O.K. .

Vana: Identify? Noaˆ¦ I would n’t state that, I merely wish I could, you know, love and be loved in such an intense manner. As I told you things are different presents, particularly in Greece.

You remember that about a decennary back, Latin-american soap operas were all over the Grecian channels. It was the clip ‘s tendency. Did you watch any of them?

Nefeli: Oh yes, how can I bury them? I was traveling through pubescence and I remember watching them with my girlfriends and following twenty-four hours at school interchanging notes about what happened. I can state that I have watched all of them.

Konstantinos: No, non truly. They seemed instead stupid to me.

Mares: Yes I remember but I did n’t watch any of them. I knew what they were approximately though because my childs watched all of them.

Vana: I was really immature when they started and I watched merely two, when I was 14 I think.

Make you happen any differences or similarities with Turkish series?

Nefeli: No manner. Turkish series are non for kids. If you have seen Ezel you know what I mean. These are real-life narratives, with passions and hates that do n’t stop up good. And there are no cockamamie secret plans, like person interchanging kids at birth and when the kids grow up autumn in love. This is fiction. Turkish series go a batch further that the traditional, rich guy- hapless miss cliche . Plus in the Turkish series, there is no such thing as a “ bad cat ” . No 1 is evil and no 1 is seeking to destroy the lives of the supporters merely because he has nil better to make with his money. In Turkish series good and evil prevarications within the characters themselves and it is shaped harmonizing to their quandary, passions, relationships and interactions.

Vana: I think I ca n’t even compare them. The scope of emotions in Turkish series is much bigger and far more realistic. Latin-american soap operas were silly love narratives for kids and teens. Just a ground to roll up spines. Not to advert the linguistic communication dubbing, it was really raging.

Would you state that you see any similarities of the Turkish civilization with Greece?

Nefeli: Decidedly! Absolutely. In every episode you hear at least 2 or 3 looks that we say in mundane life. They have a high grasp of good culinary art and household is really of import to them. And I do n’t cognize what I would happen if a go deeper in Turkey, but every bit far as we stay in the shores, we are really much alike. From the manner they dress to the manner they eat, even the gossipmongering is the same.

Konstantinos: Well I have beginnings from Constantinople and my grandma has told me a batch about how life was at that place. I believe yes, we have many similarities and the spectator can instantly state from when the household sits in the tabular array to eat. Not to advert similar words we use. We were occupied by Turks for 400 old ages, it is impossible non to hold similarities. I know for certain that many former dwellers watch the series merely to take a glance of the landscape.

Mares: Many. They respect Gods, household and nutrient. It ‘s the same as here. I do n’t cognize whether what it is presented is true but they seem to follow this Western European life style like we do, assorted with tradition. Try this, if you press “ tongueless ” on the remote, you wo n’t state if it ‘s Greeks you see of Turks. We are fundamentally similar.

Vana: I believe we are the same. We have the same face and bodily characteristics ; we are Mediterranean civilizations, both of us. The construction of things is the same. Families, friendly relationships and human relationships are really much alike.

Some say that they ca n’t watch Turkish series because of the linguistic communication ; they even find it barbarian and unsmooth for the ears. What do you believe?

Nefeli: And what do they desire, to set Greeks speaking alternatively? I believe the hearing of the linguistic communication contributes a batch to the overall result. I ca n’t judge whether it is a pleasant linguistic communication or non, for person Greek may sound atrocious, all I ‘m sta